Thesis (M.A.)--Georgia State University, 2008. / Title from file title page. Susan Richmond, committee chair; Maria Gindhart , Glenn Gunhouse, committee members. Electronic text (102 p. : col. ill.) : digital, PDF file. Description based on contents viewed July 24, 2008. Includes bibliographical references (p. 100-102).

Thesis (M.F.A.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains iv, 25 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 23-25).

Thesis advisor: Ab Gratama. Includes bibliographic references (p. 39-40).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 49).

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 59-62).

Graphic design faces the contradictions of commercial intent and social relevance. This study explores the contribution of criticism, in two independent, seminal graphic design magazines, towards shifting the dominant preferences of graphic design from a purely commercial pursuit to a human-centred practice. Emigre magazine (c.1984 - 2005) and Dot Dot Dot magazine (c.2000 - 2010) are recognised for their critical intent and within them are emerging critical issues that suggest a potential niche for graphic design beyond consumerism and commerce. In the discipline of graphic design, designers define what it is to be human (and thus equally the realities of dehumanisation) in very particular ways (Rose, 2001:135; Freire, 1993:43). Graphic design has a history of commercial practice. This commercial history continues to define its identity and reinforce a particular body of knowledge. Graphic design criticism, however, is an inventive voice that has the potential to contribute to change. Both Emigre and Dot Dot Dot were representative of a “constructive marginality” (Bennett, 1993:64), drawing from their own set of references and awareness of graphic design’s potential to inform their identities, instead of looking to established definitions of practice to do so. This analysis explores how they anticipated a modern conception of graphic design that has become part of a recently adopted (2015) and more widely embedded discourse. This discourse involves critical design that interrogates multiculturalism, interdisciplinarity, environmental sustainability, social and political agency, and speculative futures. Graphic design engages social institutions and practices that denote social constructions of difference and inequality, and is never neutral. Any work, any representation of ideology, is at once individual and discursive at the level of social, cultural and political formations. The critical issues evident in Emigre and Dot Dot Dot, with the exception of an absence of speculative futures, anticipate a more humanising perspective in graphic design. They invite critique and the potential for change that is relevant to the surrounding world, as a counter to commercial self-interest.

abstract: When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the intended message can be challenging. The purpose of this study was to create an analysis of the aesthetic characteristics of typeface pairings to assist map creators when choosing typefaces. An online survey was utilized to collect responses from graphic designers who have been trained in at least one year or more in design from a higher education institution. There were 30 participants in the study and they scored 24 typeface pairings, 12 differentiating and 12 superfamily, on 48 maps. Scoring was done on eight aesthetic characteristics: friendly, whimsical, cheap, neutral, bland, corporate, serious and modern. The researcher conducted an analysis of each typeface’s microaesthetics and then compared these to the survey’s scored aesthetic characteristics. It was concluded that there are many factors that go into comparing the typeface pairings of serif and sans serif typeface combinations. However, a selection of a superfamily typeface pairing is better than selecting a differentiating pairing. Future research should focus on conducting studies with a varying amount of typeface styles. Also, to include less maps per survey and a survey completion status bar. / Dissertation/Thesis / Masters Thesis Engineering 2018

This study focuses on the ability, or inability, to replicate or compare the design of text-related research from the perspective of the independent or dependent variables employed in such designs. Prior text-related research has used variables that were not clearly described or defined, could not be directly compared from one study or time period to the next, or were applied inappropriately. Measurements of typography-related and substrate-related variables may have absolute or relative values, and confusion can arise if the variables are not clearly identified and defined. The study is an integrative review with mixed methods research design investigating 44 books and two websites (part 1), and 83 journal articles and four theses/dissertations (part 2). The integrative review shows that the sources investigated present neither essential information on typographic and substrate characteristics nor consistent definitions of legibility and readability in order to allow comparable replication from one study to another. Findings are displayed in Chapter 4. Discussion and the related details are presented in Chapter 5. / PHD

Graphic design is historically a visual language consisting of text and image composed for the purposes of sending messages in print format. The voice of graphic design is typography—structuring and arranging letter forms into visual language. Over the past two decades, new communication formats such as motion and interaction have frequently been related to performance. My intention, however, is to explore how performance can influence typography in two and three dimensions, and even in digital environments.

Thesis (Master of Fine Arts in Integrated Design)--University of Baltimore, 2008. / Includes bibliographical references (leaf 4).